Wind onshore 29.4 GW dominates the right two-thirds of the scene as vast ranks of three-blade turbines on lattice towers stretching across rolling central-German farmland, rotors spinning visibly in moderate wind; wind offshore 5.1 GW appears as a distant line of larger turbines on the far-right horizon above a faintly suggested sea; brown coal 9.8 GW occupies the left foreground as a cluster of massive hyperbolic cooling towers emitting thick white-grey steam plumes that merge with the overcast sky; natural gas 6.1 GW sits centre-left as two compact CCGT plants with tall single exhaust stacks releasing thin heat shimmer; hard coal 4.4 GW appears as a smaller coal-fired station with rectangular boiler houses and a pair of striped chimneys just behind the gas units; biomass 3.9 GW is rendered as a modest wood-chip facility with a conical silo and low steam vent near the village edge; hydro 1.0 GW is a small dam spillway in a valley fold at the far left. Time of day: early dawn, 06:00 in late September — the sky is a deep blue-grey pre-dawn wash with the faintest pale steel-blue light creeping along the eastern horizon, no direct sunlight, no visible sun; the landscape is still mostly in darkness, lit by amber sodium streetlights along a country road and the orange industrial glow from the coal plant windows. Cloud cover 92%: a heavy, low, oppressive blanket of stratus clouds presses down, amplifying the sense of a high-priced, tense market atmosphere. Temperature 14°C in early autumn: the fields show stubble from harvested grain, trees beginning to turn yellow-brown, dew glistening faintly on grass. No solar panels anywhere. Painted as a highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — rich, moody colour palette of indigo, slate grey, ochre, and amber; visible impasto brushwork; atmospheric aerial perspective with mist between the turbine rows; meticulous engineering detail on every nacelle, cooling tower, and exhaust stack; the composition evokes Caspar David Friedrich's sense of sublime scale, with tiny human figures near the coal plant for reference. No text, no labels.